乐章

基本解释 (translations)

movement

与乐章相关的网络例句 [注：此内容来源于网络，仅供参考]

If we say that if stormy first movement is a dramatic scene, then the bright and clean, serene Adagio second movement is a temporary calm.

如果说犹如暴风骤雨般的第一乐章是戏剧的一幕，那么明净、安详的慢板第二乐章就是暂时的宁静。

General sonata, the first movement is all used to beginning from the sonata form of the allegro, but Beethoven is here destroys this kind of convention completely on one, begin from the adagio movement directly, after second movement in the allegretto , advance by leaps and bounds get urgent finale of board.

一般的奏鸣曲，第一乐章都习惯从快板的奏鸣曲式开始，但是贝多芬在此曲上彻底破坏了这种惯例，直接从慢板乐章开始，经过稍快板的第二乐章后，突进到急板的终曲。

On the basis of the analysis of the scores, the author makes conclusions about the characteristics of Schubert"s last three piano sonatas as followings: 1 The device of universal development in the movements composed in sonata form and rondo-sonata form is the most distinctive feature in the last three sonatas, which is also decisive in the trend of the whole movement and makes the developments relatively "still". 2 In the device of themes, the method of irregularity is preferred. However, By using extension, abbreviation, repetition and further repetition of periods, Schubert brings those themes to ingenious balance in both architectonics and aesthetics. 3 Chain method is applied in the connection of themes, in which the previous material is taken as basis and then modified together with the variations of new materials. By this way, the theme is continuously developed. 4 The principle of the dominant-subordinate is followed in Schubert"s three-key exposition, and the process of each key is extended.

本文在详尽分析乐谱的基础上，对最后三首奏鸣曲的主要创作特点进行了以下总结： 1、奏鸣曲式和奏鸣回旋曲式乐章中展开的普遍化是最后三首奏鸣曲最为显著的特点，它决定了整个乐章的走向，并使展开部具有相对"静止"的特点； 2、舒伯特的主题写作中更喜欢运用非方整性写法，并通过自身材料的延长、缩减和重复或者更高一级的段落重复使其达到了结构上和审美上的巧妙平衡； 3、舒伯特喜欢用链式的主题贯穿方式，音乐以之前的材料为依据，经过变化后再加入新的材料，用这种方式不间断地发展； 4、舒伯特的三调呈示部遵循从主到属的总体原则，并扩展了调性历程。

They both contain long and developed cadenzas with the first movement's cadenza alone taking up almost the entire last half of the movement.

他们都包括了长而展开的华彩乐段，第一乐章的华彩乐段几乎占据了第一乐章的整个后半部分。

This movement collects all aforementioned themes together as "a metaphorical retrospect of the hero's youth", and ends in hymnal brilliance.

这一乐章将先前第一乐章中的主题集中起来，作为"对英雄年轻时代的美丽隐喻和回顾"，而最后乐章则终结在辉煌的赞美诗中。

The Sonatina is consisted of three movements and each one was not titled at the beginning. In 1981, when it was republished by Peoples Music Publishing House, the three movements were gvien titles in order as above by Mr. Wang himself in order to let the learners to understand better the artistic conception of the work.

全曲由三个乐章组成，原本各乐章是没有标题的，直到1981年在人民音乐出版社出版时，为了便于孩子们更好的理解作品的音乐情境，汪立三先生才为其三个乐章分别加上了标题《在阳光下》、《新雨后》、《山里人之舞》。

Most of these problems occur in the first and third movements-the second is short and taut enough to breeze by unnoticed, and the fugue-finale, for all its mathematical tomfoolery and its grimly vigorous attempts to break the neo-Handelian sound-barrier is both fascinating and fun.

这些主要发生在第一和第三乐章，第二乐章相比太短了可以忽略，至于最后的赋格乐章，它那数学般精准的无聊，那严肃有力的对于打破新亨德尔派声音隔阂的尝试既让人着迷又有趣。

Hu Kun, conducting with Enescus own baton, brought clarity of line and spaciousness to the first movement, then revealed in the highly complex contrapuntal fugal scoring of the second movement that acts as a massive developmental section together with the exquisitely nuanced third movement.

胡坤， 挥着安耐斯库的指挥棍，将第一乐章的线条清晰而舒展的勾画出来，接着又用第二乐章极端复杂的赋格对位，演变成庞大的发展部并与第三乐章的细腻有色精美结合。

At present, the first movement, In the Sun, is used as testing material for The Ten-level Piano Tests administered by China Music Association. The second and the third ones are seldomly used in teaching and leave us much room to study and explore.

目前，这首作品的第一乐章《在阳光下》已被纳入中国音协考级十级当中，第二乐章和第三乐章在教学中运用较少，有关资料匮乏，值得我们进一步的研究和探索。

This article begins with the guiding creation of Sketches of Taiwan , sin literature and art, put emphasis on compose skills and artistic characteristics and some other aspects of the second movement Recollections of anping ,the third movement Llan Childrens Ditty,the fifth movement A Taiyal Love Song and the sixth movement lukang Temple Gathering.

本文从《台湾音画》的创作思想入手、着重对其第二乐章《安平怀古》、第三乐章《宜兰童谣》、第五乐章《泰雅情歌》、第六乐章《鹿港庙会》的作曲技法与艺术特色等方面进行分析，有力的论证该组曲实为中西文化融合的成功之作。

与乐章相关的网络解释 [注：此内容来源于网络，仅供参考]

3rd mov.Scherzo:Allegro vivace：第三乐章 诙谐曲:活泼的快板

02 第二乐章 极柔板> 2nd mov.Marcia funebre:Adagio assai | 03 第三乐章 诙谐曲:活泼的快板 3rd mov.Scherzo:Allegro vivace | 04 第四乐章 终曲:非常缓的快板 4th mov.Finale:Allegro molto

Adagio：第二乐章:柔板

章:柔板 (Adagio) 古典音乐第二乐章:柔板 (Adagio) 古典音乐歌词对歌曲第二乐章:柔板 (Adagio)的评论第二乐章:柔板 (Adagio)是古典音乐的发布的专辑[门德尔松 E小调小提琴协奏曲 勃拉姆斯 D大调小提琴协奏曲]中的一首新歌曲,

Menuetto: Allegretto：第二乐章:小步舞曲:稍快板

Allegro con brio 第一乐章:灿烂的快板 4:50 | Menuetto: Allegretto 第二乐章:小步舞曲:稍快板 3:36 | Adagio-Cantabie e sostenuto 第三乐章:慢板 6:08

Allegro：第一乐章:快板

因此,充分认识第一乐章的基本动机在全曲所起的主导地位,有助于我们加深对这部作品的理解: 下面是各乐章的分析: 第一乐章:快板(Allegro),4/4拍子,#f小调,采用带有引子和尾声的四部并列曲式(ABCD),即"起、承、转、合"的形式写成,

Allegro moderato：第一乐章:中庸的快板

01 allegro moderato 第一乐章:中庸的快板 | 02 adagio molto,tempo di marcia 第二乐章:非常慢的慢板,进行曲的速度 | 03 allegro vivace 第三乐章:活泼的快板

Allegro vivace：第三乐章:活泼的快板

02 adagio molto,tempo di marcia 第二乐章:非常慢的慢板,进行曲的速度 | 03 allegro vivace 第三乐章:活泼的快板 | 04 allegro non tanto 第一乐章:不太快的快板

Allegro con brio：第一乐章:有活力的快板

1、贝多芬:c小调第五"命运"交响曲第一乐章.有活力的快板(Allegro con brio)2、贝多芬:c小调第五"命运"交响曲第二乐章.流畅的行板(Andante con moto)3、贝多芬:c小调第五"命运"交响曲第三乐章.快板(Allegro)4、贝多芬:c小调第五"命运"交响曲

Allegro con brio：第一乐章:灿烂的快板

04 finale:allegro con brio 第四乐章:终曲:灿烂的快板 | 05 allegro con brio 第一乐章:灿烂的快板 | 06 adagio 第二乐章:柔板

Pines Near A Catacomb：第二乐章:地下陵墓附近的松树

09:第一乐章:博尔格斯别斯墅的松树 The Pines of the Villa Borghese | 10:第二乐章:地下陵墓附近的松树 Pines Near a Catacomb | 11:第三乐章:佳尼库伦的松树 The Pines of the Janiculum

Massacre Rhapsody：屠杀乐章

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